SUISHOU NO FUNE - 'PRAYER FOR CHIBI'

Formats

• HOLY2957 - 2xCDs

  655035695723

• HOLY2957LP - LP

Details

NOw getting a deluxe vinyl issue!!!!!! two tracks picked from the 2CD set appear on this limited edition/ suishou no fune originated in tokyo's fertile psychedelic scene. after landing a spot on psf's tokyo flashback 5 and releasing where the spirits are in 2006, the group ventured out from japan and took every opportunity to play across the united states and europe. during one of these trips in the spring of 2007, the group down to the crucial duo of pirako and kurenai went into a recording studio for a few days and laid down these massive new tracks. prayer for chibi might be the ultimate suishou no fune album; with two disks and more than two hours of music, the group finally stretches out and lets their music flow like it never has before. much about suishou no fune has had to do with volume, but this new set of duets adds forays into starker songwriting and a languid serenity that works to make one feel as if it were necessary to hold one's breath through the entire album..

Tracks

DISC ONE
1. PRAYER
2. THE RAIN FALLS
3. TILL WE MEET AGAIN
4. BECOMING A FLOWER
DISC TWO
1. RESURRECTION NIGHT
2. IN THE CLOUDS
3. THE STARS KNOW ALL
4. CHERRY


LP
a:BECOMING A FLOWER
b:TILL WE MEET AGAIN

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Audio & Video

MELVINS - 'OZMA / GLUEY PORCH TREATMENTS'

Formats

• BR16CD - CD

  N/A

Details

With Black in on bass and the band relocated to San Francisco, the Melvins started, in a subtle way, exploring and developing their already-trademark sound further. The genre-dipping and out-of-nowhere efforts of later years were still some distance off, to be sure, but moments like the vocal/drum-only part on "Oven" and the needle-thin feedback treatment punctuating "Revulsion/We Reach" (along with occasional chimes) show more chances already being taken. Osbourne's tribute to Ozzy reaches new heights throughout - opening track "Vile" in particular blends that and the running Gene Simmons fascination into a twisted monster, insistent, unnerving, and threatening all at once. "Green Honey" is another great, one of the quicker songs (at least comparatively speaking) going off as a slightly echo-shrouded Osbourne fires off a few quick rambles. Crover once again is the band's not secret weapon, as the clattering start of "Agonizer" and the subtle but spot-on tempo shifts on "Claude" make clear. Black's bass playing is steady-as-it-goes enough not to get in the way of anything, and she and Crover make enough bedrock thump for Osbourne to let loose with both his pipes and his guitar. Whether it's the creepily calm start of "Let God Be Your Gardener," plucking rather than bulldozing forward for once, or the grinding do-not-pass-go attack of "Raise a Paw," Ozma is out for blood and gets it. Killer song titles this time out include "Ever Since My Accident" and "Cranky Messiah." The random what-the-hell moment is right at the end, though - "Candy-O," a cover of the Cars song that shouldn't work but actually does the business. Also fun - consider the lead-guitar melody of "Love Thing" and how it oddly resembles Pearl Jam's breakthrough hit "Alive" from a few years later. (ALL MUSIC.COM) extra tracks from the Gluey Porch Treatments Mini...

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Audio & Video

MELVINS - 'S/T'

Formats

• BR35CD - CD

  N/A

Details

Retitled: Originally and notoriously known as Lysol before the company behind said household product had something to say on the matter (early copies with the original information can be found), Melvins was in many ways the pinnacle of the band at that point. Besides being the full-length farewell to indie rock labels, at least for a few years, it also showed an ambition that arguably they wouldn't have been to fulfill while on Atlantic. Though there are six separate songs on the disc, it is mastered and assembled as one megacomposition, in ways making it the perfect counterpart to the previous year's solo projects. The logical extension of the sheer monstrosity of the band's work up to that time, with longer and longer songs, its first two parts alone are jawdroppers. "Hung Bunny," which takes up the first third of the whole half-hour effort, begins with Osbourne's slabs of feedback and wordless vocals, with only very occasional drum-and-bass hits punctuating them. They rev up in full toward the end as the song shifts into "Roman Dog Bird," which easily stakes a claim as being the most Sabbath-like number the band had yet done - huge, moving at a snail's pace, and with Osbourne's already on-the-edge vocals flanged and distorted like crazy. One of the most interesting things about Melvins is that in among the mayhem, there are two cover versions included - both equally understandable sources of inspiration, both comprehensively Melvin-ized. Flipper was an obvious role model for the Melvins' slow-as-it-goes rumble, thus the trudging treatment of "Sacrifice" here. Meanwhile, none other than Alice Cooper himself gets the nod with "The Ballad of Dwight Fry," which actually slots into the whole presentation scarily well (and displays, wonder of wonders, subtlety). (All Music Group)

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Audio & Video